visualisaton

I was commissioned by Sydney Opera House to create 5 video installations for inclusion in the South Wall of the new Welcome Centre at Sydney Opera House, at the harbour end of the lower concourse. The installation can be seen anytime day or night and provides a visual history of the architecture and heritage of Sydney Opera House.
I created 5 looped montages that interpret the chronological narratives of design, architecture and engineering of the building and using a combination of historical curated images and our own interpretations of key elements of the design and engineering process. The total duration is around 14 minutes, but as they run on loops, the presentation is a synchronous display experience that flows along the full breadth of the wall that winds behind the Visitor Centre.
Credits:
Director/Editor/Compositor, Sam Doust
3D Artist/Compositor, Reuben Hill

Look, before it was a droid, it was a vase! Next time you’re in LA, go check out this beautiful piece of Art Deco design – a porcelain vase c.1900, made in Europe, but resident at Los Angeles’ County Museum of Art.

One of the first slides in one of my talks: William Archer’s definition from many decades before the Digital Revolution is perfectly relevant to digital storytelling.

Had a fascinating time at The Walkley Foundation’s Storyology conference. An eclectic gathering of Australians and guest speakers from abroad, colleagues at ABC, students, entrepeneurs gathered in Surry Hills to debate the state of things. I was involved in a couple of talks, both on digital narrative and game mechanics in storytelling.(more…)

As part of a discussion about what digital first production looks like, I drew up this spaghetti diagram that cross-references team members and their tasks and skills with production roles and software environments. It’s interesting as a snapshot view and illustrates how much multitasking goes on. There’s a PDF linked to the image so that you can zoom in. Here is the project’s full credits listing.

This trailer was never used to promote The Opera House Project, or released to a wider audience, but it really helped me define a feeling for the project’s tone during production. The first two and a half minutes of Wagner’s Parsifal plays over a sequence of formative influences on Utzon’s design process, as well as a sequence that shows five of Utzon’s own sketches and interprets the connection between them by placing them in 3d space. These sketches then segue into a camera move that leads through a model interpreted from the original shapes and textures of Utzon’s submission drawings, and through the final geometry to the finished building.